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The Age of Leonardo and Michelangelo The Age of Leonardo and Michelangelo Ministero dell’Istruzione, dell’Università e della Ricerca - Ufficio Scolastico Regionale per la Sicilia Corso di formazione docenti all’insegnamento CLIL Modulo C - Sperimentazione in classe del percorso CLIL classe III A, a. s. 2010-2011 prof. ssa Emanuela Pulvirenti Liceo Scientifico “R. P. Vassallo”, Riesi Corso di Disegno e Storia dell’Arte Lesson n.1 Leonardo da Vinci - drawing activity (first sketch, machines, architecture, anatomy, botanic, Vitruvian man) Lesson n.2 Leonardo da Vinci - The Annunciation (linear and atmospheric perspective, scientific details, golden ratio) Lesson n.3 Leonardo da Vinci - The Virgin of the rocks (two versions, composition, perspective, sfumato) Lesson n.4 Leonardo da Vinci - The last supper (the told event, the composition, the perspective, the painting technique) Lesson n.5 Leonardo da Vinci - Mona Lisa (portrait, landscape, perspective, sfumato, golden ratio, reinterpretations) Lesson n.6 Michelangelo - sculpting philosophy (stone carving, Saint Peter Piety) Lesson n.7 Michelangelo - David and Tondo Doni (proportion, use of colours, the outline, the serpentine line) Lesson n.8 Michelangelo - The vault of Sistine Chapel (the told events, the composition, the serpentine line) Lesson n.9 Michelangelo - The Capitolium (the project, the giant order, the composition, the perspective) Lesson n.10 Michelangelo - Saint Peter Church (the central-plan, the apse, the dome)

Corso di formazione docenti all’insegnamento CLIL 6.pdf · Corso di formazione docenti all’insegnamento CLIL ... The Age of Leonardo and Michelangelo MICHELANGELO BUONARROTI (Caprese,

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Page 1: Corso di formazione docenti all’insegnamento CLIL 6.pdf · Corso di formazione docenti all’insegnamento CLIL ... The Age of Leonardo and Michelangelo MICHELANGELO BUONARROTI (Caprese,

The Age of Leonardo and Michelangelo

The Age of Leonardo and Michelangelo

Ministero dell’Istruzione, dell’Università e della Ricerca - Ufficio Scolastico Regionale per la Sicilia

Corso di formazione docenti all’insegnamento CLIL

Modulo C - Sperimentazione in classe del percorso CLIL

classe III A, a. s. 2010-2011

prof. ssa Emanuela PulvirentiLiceo Scientifico “R. P. Vassallo”, Riesi

Corso di Disegno e Storia dell’Arte

Lesson n.1 Leonardo da Vinci - drawing activity (first sketch, machines, architecture, anatomy, botanic, Vitruvian man)

Lesson n.2 Leonardo da Vinci - The Annunciation (linear and atmospheric perspective, scientific details, golden ratio)

Lesson n.3 Leonardo da Vinci - The Virgin of the rocks (two versions, composition, perspective, sfumato)

Lesson n.4 Leonardo da Vinci - The last supper (the told event, the composition, the perspective, the painting technique)

Lesson n.5 Leonardo da Vinci - Mona Lisa (portrait, landscape, perspective, sfumato, golden ratio, reinterpretations)

Lesson n.6 Michelangelo - sculpting philosophy (stone carving, Saint Peter Piety)

Lesson n.7 Michelangelo - David and Tondo Doni (proportion, use of colours, the outline, the serpentine line)

Lesson n.8 Michelangelo - The vault of Sistine Chapel (the told events, the composition, the serpentine line)

Lesson n.9 Michelangelo - The Capitolium (the project, the giant order, the composition, the perspective)

Lesson n.10 Michelangelo - Saint Peter Church (the central-plan, the apse, the dome)

Page 2: Corso di formazione docenti all’insegnamento CLIL 6.pdf · Corso di formazione docenti all’insegnamento CLIL ... The Age of Leonardo and Michelangelo MICHELANGELO BUONARROTI (Caprese,

Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti

The Age of Leonardo and Michelangelo

GLOSSARY

ancient = ?

prisoner = ?

marble = ?

to carve = ?

to sculpt = ?

shadow = ?

fight = ?

knee = ?

shoulder = ?

lap = ?

sledgehammer = ?

eyelid = ?

to merge = ?

TRANSLATE IN ENGLISH

scultura = ?

scolpire = ?

statua = ?

marmo = ?

ombra = ?

ginocchio = ?

piramide = ?

spalla = ?

palpebra = ?

sopracciglio = ?

petto = ?

dolore = ?

striscia = ?

go to TEST n.1 go to TEST n.2

stiff = ?

to cradle = ?

stripe = ?

chest = ?

pain = ?

sin = ?

Page 3: Corso di formazione docenti all’insegnamento CLIL 6.pdf · Corso di formazione docenti all’insegnamento CLIL ... The Age of Leonardo and Michelangelo MICHELANGELO BUONARROTI (Caprese,

Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti

The Age of Leonardo and Michelangelo

GLOSSARY

ancient = antico

prisoner = prigioniero

marble = marmo

to carve = scolpire

to sculpt = scolpire

shadow = ombra

fight = lotta

knee = ginocchio

shoulder = spalla

lap = ventre

sledgehammer = mazza

eyelid = palpebra

to merge = unire

TRANSLATE IN ENGLISH

scultura = sculpture

scolpire = to carve, to sculpt

statua = stuatue

marmo = marble

ombra = shadow

ginocchio = knee

piramide = pyramid

spalla = shoulder

palpebra = eyelid

sopracciglio = eyebrow

petto = chest

dolore = pain

striscia = stripe

stiff = rigido

to cradle = cullare

stripe = striscia

chest = petto

pain = dolore

sin = peccato

Page 4: Corso di formazione docenti all’insegnamento CLIL 6.pdf · Corso di formazione docenti all’insegnamento CLIL ... The Age of Leonardo and Michelangelo MICHELANGELO BUONARROTI (Caprese,

Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti

The Age of Leonardo and Michelangelo

MICHELANGELO BUONARROTI (Caprese, Arezzo 1475 - Roma,1465)

Sculptor, painter, architect and poet Michelangelo was the greatest artist in a time of greatness. His birthplace, Capre-se, Italy, where Michelangelo was born on March, 6th, 1475, was a tiny village that belonged to the nearby city-state of Flo-rence. He went to school in Florence, but his mind was on art, not on his studies. When he was only thirteen he began to spend his time at the “Giardino di San Marco” a kind of museum-lab where Lorenzo il Magnifico held a lot of clas-sic works copied by the apprentices. Michelangelo, who was soon protected by Lorenzo, made copies of those ancient models but also sketches by Giotto and Masaccio.

link on Michelangelo’s biographyancient = antico lab = laboratorio

Sketch by Masaccio’s Tribute, 1488

Page 5: Corso di formazione docenti all’insegnamento CLIL 6.pdf · Corso di formazione docenti all’insegnamento CLIL ... The Age of Leonardo and Michelangelo MICHELANGELO BUONARROTI (Caprese,

Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti

The Age of Leonardo and Michelangelo

Michelangelo always felt to be above all a sculptor, even when he painted or realized architectures.

Michelangelo’s poetic was born on the concept of the copy: when he sketches on the paper, the image he’s drawing already exists in the painting.

So when he carves the marble, he works as if the figu-re already exists inside the block. He used to say that his work was only removing the excess of material to let the “idea” free.

Like in neoplatonic philosophy, Michelangelo thought that the “idea” is prisoner of the matter and his at-tempt to make it free represents the fight between man and his destiny.

to carve = scolpire marble = marmo matter = materia fight = lotta Prisoner go to TEST n.3

Page 6: Corso di formazione docenti all’insegnamento CLIL 6.pdf · Corso di formazione docenti all’insegnamento CLIL ... The Age of Leonardo and Michelangelo MICHELANGELO BUONARROTI (Caprese,

Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti

The Age of Leonardo and Michelangelo

In 1496, few years after Lorenzo’s death, Michelangelo went to Rome.

Here he knew better classic art and two years later he carved the Piety: a sculpture which represents the Virgin Mary while keeping on her knees the body of his dead son inside a pyramid composition.

knee = ginocchioPiety, 1498-99 , Saint Peter’s, Rome.

Page 7: Corso di formazione docenti all’insegnamento CLIL 6.pdf · Corso di formazione docenti all’insegnamento CLIL ... The Age of Leonardo and Michelangelo MICHELANGELO BUONARROTI (Caprese,

Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti

The Age of Leonardo and Michelangelo

The sculpture is, nowadays, insi-de Saint Peter’s, Rome, just on the right of the main entrance.

It’s protected by a glass since 1972, when Laszlo Toth, an Au-stro-Hungarian crazy geologist, jumped over the balustrade of the Piety Chapel, brandishing a sledgehammer, shouting “I am Jesus!”.

His assault fractured the left arm of Mary, her nose, veil, and left eyelid, leaving the Madonna se-verely disfigured.

make a virtual tour of the Piety Chapelbalustrade = balaustra sledgehammer = mazza eyelid = palpebra

Page 8: Corso di formazione docenti all’insegnamento CLIL 6.pdf · Corso di formazione docenti all’insegnamento CLIL ... The Age of Leonardo and Michelangelo MICHELANGELO BUONARROTI (Caprese,

Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti

The Age of Leonardo and Michelangelo

The theme of the Piety (the body of Jesus on the lap of his mother Mary after the Cruci-fixion) is of Northern origin, popular by that time in France but not yet in Italy. In the forei-gn tradition the two characters have a stiff position and aren’t really joined.

Michelangelo’s interpretation of the Piety is unique to the precedents: Mary and Jesus are merged together in a very natural way as if the mother is cradling her child.

lap = grembo stiff = rigido to merge = fondere to cradle = cullare

Giovanni Bellini, Piety, 1505

Perugino, Piety, 1483-1493

German Piety, XIV century Nordic Piety, 1420 Michelangelo, Piety, 1498

CAN YOU DESCRIBE THE DIFFERENCES?

Page 9: Corso di formazione docenti all’insegnamento CLIL 6.pdf · Corso di formazione docenti all’insegnamento CLIL ... The Age of Leonardo and Michelangelo MICHELANGELO BUONARROTI (Caprese,

Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti

The Age of Leonardo and Michelangelo

In Michelangelo’s Piety the Virgin Mary has got the same dress of Leonardo’s.

In the stripe on the Virgin chest there is Michelangelo’s signature: “Michaelangelus Bo-narrotus Florentinus. Faciebat”. It’s the only work signed by the artist.

stripe = striscia chest = petto signature = firma

Leonardo, The Annunciation, 1475

Page 10: Corso di formazione docenti all’insegnamento CLIL 6.pdf · Corso di formazione docenti all’insegnamento CLIL ... The Age of Leonardo and Michelangelo MICHELANGELO BUONARROTI (Caprese,

Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti

The Age of Leonardo and Michelangelo

There is a great idealization of the subject: no pain, no tragedy but a divine perfection. Christ has a beautiful body, Mary seems to be very young because she’s uncorrupted and without sin.

pain = dolore sin = peccato

Page 11: Corso di formazione docenti all’insegnamento CLIL 6.pdf · Corso di formazione docenti all’insegnamento CLIL ... The Age of Leonardo and Michelangelo MICHELANGELO BUONARROTI (Caprese,

Liceo Scientifico “R. P. Vassallo” - Corso di Disegno e Storia dell’Arte - classe III A - prof. ssa Emanuela Pulvirenti

The Age of Leonardo and Michelangelo

Michelangelo will carve other Pieties in his long career, very different from Saint Peter’s one: Palestrina Piety, sculpted in 1555 where the mother keeps the son from the backside, helped by Mary Magdalene; Bandini Piety, carved in 1557, where Nicodemus also appears (it’s a Michelangelo’s self-portrait); and Rondanini Piety sculpted since 1561 until the death of the artist whith only Mary and Jesus, a very impressive and unfinished work.

Palestrina Piety, 1555 Bandini Piety, 1557 Rondanini Piety, 1561-1465

CAN YOU DESCRIBE THE DIFFERENCES?

Saint Peter Piety, 1496